Our argument is that sonic rhetoric and rhetorical genre theory might be employed in taking up calls for classroom genre scholarship to focus on temporality, unfolding, and lived relationships between genres. In making this argument, we will first review some key scholarship in rhetorical genre theory and soundscape studies. We will then explore how the intersection of that scholarship may offer a more complex understanding of genre, unfolding through qualitative analysis of seven writing-intensive classroom soundscapes.

Departing from systemic-functional studies of the genre of face to face shopping, the paper provides a cartography of an online fashion shopping site, showing how it consists of an array of micro genres (themselves hybrids of genres such as advertisements, fashion spreads, lifestyle magazine articles and Instagram style social media photography) which can be navigated in different ways, yet always connect to purchase options. Multimodally, online fashion shopping entextualizes face to face fashion shopping and in the process transduces embodied modes of communication into text and image, relying a great deal more on language than its face to face equivalent.

Studies in Information publishes monographs on critical issues in the information society. The book series is concerned with all aspects of information; its nature, politics, institutions, usages, and technologies, and it presents research from a wide range of disciplinary traditions. Previously published as Library and Information Science, it is a fully peer-reviewed and high impact outlet for research in the field of information. This new volume, edited by Jack Andersen, is the first to be published under the new series name Studies in Information. The book highlights the important role genre theory plays within information studies. It illustrates how modern genre studies inform and enrich the study of information, and conversely how the study of information makes its own independent contributions to the study of genre. Various original contributions scrutinize core aspects of information and knowledge organization, such as information systems and distributed authorship; personal information management; and records management in organizations, all through the lens of genre.

One fruitful line of research has been to explore the local linguistic as well
as global rhetorical patterns of particular genres in order to identify their recognizable
structural identity, or what Bhatia (1999: 22) calls \‘generic integrity\’. In terms of
methodology, to date most genre-based studies have employed one or the other of
Swales\’ (1981/1990) move-analytic models of text analysis to investigate whether or
not the generic prototypical patterns that he has introduced exist universally. This
paper, however, considers the application of the Systemic Functional (SF) theory of
language to genre analysis. The paper looks, in particular, at distinctive rhetorical
features of English newspaper editorials as an important public \‘Cinderella\’ genre
and proposes a generic prototypical pattern of text development for editorials or what
Halliday and Hasan (1989) refer to as the Generic Structure Potential (GSP) of a
genre. The results of this study should benefit both genre theory and Systemic Functional
Linguistics (SFL) and will be, it seems, of interest not only to applied linguists,
but to those involved in education, journalism, and the media.

},
author = {Hasan Ansary and Esmat Babaii}
}
@inbook {594,
title = {Teaching and Learning a Multimodal Genre in a Psychology Course},
booktitle = {Genre across the Curriculum},
year = {2005},
month = {2005},
pages = {171{\textendash}191},
publisher = {Utah State University Press},
organization = {Utah State University Press},
address = {Logan, UT},
keywords = {classroom, genre, teaching, WAC},
author = {Anson, Chris M. and Dannels, Deanna P. and St. Clair, Karen},
editor = {Herrington, Anne and Moran, Charles}
}
@article {RN150,
title = {Writing research article introductions in software engineering: how accurate is a standard model},
journal = {IEEE Transactions on Professional Communication},
volume = {42},
number = {1},
year = {1999},
pages = {38-46},
doi = {10.1109/47.749366},
url = {http://ieeexplore.ieee.org/xpl/articleDetails.jsp?arnumber=749366},
author = {Anthony, L}
}
@article {595,
title = {Genre and Game Studies: Toward a Critical Approach to Video Game Genres},
journal = {Simulation \& Gaming},
volume = {37},
year = {2006},
note = {+ pdf},
month = {2006},
pages = {6{\textendash}23},
abstract = {This article examines the notion of genre in video games. The main argument is that the market-based categoriesof genre that have been developed in the context of video games obscure the new medium{\textquoteright}s crucial
defining feature, by dividing them into categories (loosely) organized by their similarities to prior forms of
mediation. The article explores the inherent tension between the conception of video games as a unified new
media form, and the current fragmented genre-based approach that explicitly or implicitly concatenates
video games with prior media forms. This tension reflects the current debate, within the fledgling discipline
of Game Studies, between those who advocate narrative as the primary tool for understanding video games,
{\textquotedblleft}narratologists,{\textquotedblright} and those that oppose this notion, {\textquotedblleft}ludologists.{\textquotedblright} In reference to this tension, the article
argues that video game genres be examined in order to assess what kind of assumptions stem from the uncritical
acceptance of genre as a descriptive category. Through a critical examination of the key game genres,
this article will demonstrate how the clearly defined genre boundaries collapse to reveal structural similarities
between the genres that exist within the current genre system, defined within the context of visual
aesthetic or narrative structure. The inability of the current genre descriptions to locate and highlight these
particular features suggests that to privilege the categories of the visual and narrative is a failure to understand
the medium. The article concludes by suggesting that the tension between {\textquotedblleft}ludology{\textquotedblright} and
{\textquotedblleft}narratology{\textquotedblright} can be more constructively engaged by conceptualizing video games as operating in the
interplay between these two taxonomies of genre.
},
keywords = {genre, interactivity, remediation, video game},
author = {Apperley, Thomas H.}
}
@article {1106,
title = {Rhetorical Scarcity: Spatial and Economic Inflections on Genre Change},
journal = {College Composition and Communication},
volume = {63},
year = {2012},
month = {02/2012},
pages = {483},
chapter = {453},
abstract = {

This study examines how changes in a key scientific genre supported anthropology\’s early twentieth-century bid for scientific status. Combining spatial theories of genre with inflections from the register of economics, I develop the concept of rhetorical scarcity to characterize this genre change not as evolution but as manipulation that produces a manufactured situation of intense rhetorical constraint.

Genre Studies around the Globe: Beyond the Three Traditions exemplifies rich and vibrant international scholarship in the area of non-literary genre studies in the early 21st century. Based on the "Genre 2012" conference held in Ottawa, Canada, the volume brings under one cover the three Anglophone traditions (English for Specific Purposes, the Sydney School, Rhetorical Genre Studies) and the approaches to genre studies developed in other national, linguistic, and cultural contexts (Brazilian, Chilean, and European). The volume contributors investigate a variety of genres, ranging from written to spoken to multimodal, and discuss issues, central to the field of genre studies: genre conceptualization in different traditions, its theoretical underpinnings, the goals of genre research, and pedagogical implications of genre studies. This collection is addressed to researchers, teachers, and students of genre who wish to familiarize themselves with current international developments in genre studies.

From the Research Group for Genre Studies (RGGS). The Research Group for Genre Studies
moves at the forefront of existing genre research, with a wide international network, a developing interdisciplinary research profile in both English and Danish, and extensive teaching activities at all levels, including a strong profile in research education.
\

In this article, I compare Michel Foucault\&$\#$39;s (1994) author-function and Anis Bawarshi\&$\#$39;s (2000) genre function as explanations for the use, categorization, and value of scholarly webtexts. I focus much of my analysis on Anne Frances Wysocki\&$\#$39;s (2002) \“A Bookling Monument\” because it is explicitly designed to destabilize our reading practices. I also situate Wysocki\&$\#$39;s webtext along a spectrum with Charles Lowe\&$\#$39;s (2004) \“Copyright, Access, and Digital Texts\” and Collin Gifford Brooke\&$\#$39;s (2002) \“Perspective: Notes Toward the Remediation of Style.\” In using the author-function and the genre function as lenses on these pieces, I aim to articulate multiple possible modes of being for scholarly webtexts and their users. In the process, I illustrate the ways these concepts speak to the status and social function of authorial ownership and originality; multimodal complexity; and formal reflexivity. Ultimately, I argue that bringing traditional concepts like authorship and genre to bear on scholarly webtexts not only reveals the values of the Computers and Writing community but also presents a unique opportunity to continue testing the uses and limits of our rhetorical theories.

Generic knowledge plays an important role in the packing and unpacking of texts used in a
wide-ranging institutionalized socio-rhetorical context. If, on the one hand, it imposes constraints on an
uninitiated genre writer to conform to the conventions and rhetorical expectations of the relevant
professional community, on the other hand, it allows an experienced and established writer of the genre
to exploit conventions to create new forms to suit specific contexts. Unfortunately, however, this privilege
to exploit generic conventions to create new forms becomes available only to those few who enjoy a certain
degree of visibility in the relevant professional community; for a wide majority of others, it is more of a
matter of apprenticeship in accommodating the expectations of disciplinary cultures. This paper reviews
current research to investigate the way the power and the politics of genre is often exploited by the so-called
established membership of disciplinary communities to keep outsiders at a safe distance.

In this paper, I report the effects of explicitly teaching five technical genres to English first-language students enrolled in a multi-major technical writing course. Previous experimental research has demonstrated the efficacy of explicitly teaching academic writing to English first-language adults, but no comparable study on technical writing exists. I used a mixed-method approach to examine these effects, including a control-group quasi-experimental design and a qualitative analysis to more fully describe the 534 texts produced by 316 student writers. Results indicated the genre participants constructed texts demonstrating a significantly greater awareness to audience, purpose, structure, design, style, and editing than participants taught through more traditional approaches. Within the technical genres, participants demonstrated greater awareness to audience, purpose, and editing in the job materials text type than with correspondence or procedures text types.

\"Media critics remain captivated by the modernist myth of the new: they assume that digital technologies such as the World Wide Web, virtual reality, and computer graphics must divorce themselves from earlier media for a new set of aesthetic and cultural principles. In this richly illustrated study, Jay David Bolter and Richard Grusin offer a theory of mediation for our digital age that challenges this assumption. They argue that new visual media achieve their cultural significance precisely by paying homage to, rivaling, and refashioning such earlier media as perspective painting, photography, film, and television. They call this process of refashioning \"remediation,\" and they note that earlier media have also refashioned one another: photography remediated painting, film remediated stage production and photography, and television remediated film, vaudeville, and radio.\"

An accessible introduction to the study of popular music, this book takes a schematic approach to a range of popular music genres, and examines them in terms of their antecedents, histories, visual aesthetics, and sociopolitical contexts. Within this interdisciplinary and genre-based focus, readers will gain insights into the relationships between popular music, cultural history, economics, politics, iconography, production techniques, technology, marketing, and musical structure.

We examine the rhetorical activity employed within software development communities in code texts. For technical communicators, the rhetoricity of code is crucial for the development of more effective code and documentation. When we understand that code is a collection of rhetorical decisions about how to engage those machinic processes, we can better attend to the significance and nuance of those decisions and their impact on potential user activities.

This paper reports a corpus investigation of the Methods sections of research-reporting articles in academic journals. In published pedagogic materials, Swales and Feak [Swales, J. M., \& Feak, C. (1994). Academic writing for graduate students. Ann Arbor: University of Michigan Press; Swales, J. M., \& Feak, C. (2000). English in today{\textquoteright}s research world. Ann Arbor: University of Michigan Press.], while not offering a generic structure, discuss the tendencies for Methods sections reporting research in the social sciences to be slow (or extended), and those in the physical sciences, such as medicine and engineering, to be fast (or compressed) {\^a}{\texteuro}{\textquotedblleft} the metaphors of speed or density relating to the degree of elaboration employed in describing and justifying the research design and process. The aim of this study is to examine the differences between fast and slow tendencies in Methods sections in terms of their internal, cognitive discourse organization. Two small corpora, each consisting of thirty Methods sections (one for each of the two groups of subjects), are analyzed in two ways. First the corpora are rater-analyzed for their use of the organizational features of a cognitive genre model for textual structures (see Bruce, I. J. (2005). Syllabus design for general EAP courses: a cognitive approach. Journal of English for Academic Purposes, 4(3), 239{\^a}{\texteuro}{\textquotedblleft}256.) and secondly by the use of corpus software for linguistic features that characterize the model. The findings of the study suggest that {\^a}{\texteuro}\~{}fast{\^a}{\texteuro}{\texttrademark} Methods sections that report research in the physical sciences generally employ a means-focused discourse structure, and {\^a}{\texteuro}\~{}slow{\^a}{\texteuro}{\texttrademark} Methods sections in social science reports tend to employ a combination of chronological and non-sequential descriptive structures. The study concludes that learner writers may benefit from access to the types of general, procedural knowledge that these discoursal structures employ.

\"Flexible, easy to use, just enough detail\—and now the number-one best seller.

With just enough detail \— and color-coded links that send students to more detail if they need it \— this is the rhetoric that tells students what they need to know and resists the temptation to tell them everything there is to know. Designed for easy reference \— with menus, directories, and a combined glossary/index. The Third Edition has new chapters on academic writing, choosing genres, writing online, and choosing media, as well as new attention to multimodal writing.

The Norton Field Guide to Writing is available with a handbook, an anthology, or both \— and all versions are now available as low-cost ebooks and in mobile-compatible formats for iPhones, Droids, and iPads.\"

One way of helping faculty understand the integral role of writing in their various disciplines
is to present disciplines as ways of doing, which links ways of knowing and
writing in the disciplines. Ways of doing identified by faculty are used to describe broader
generic and disciplinary structures, metagenres, and metadisciplines.

Following from the work of Thomas Leitch (2008) and Christine Geraghty (2009),
adaptations that position themselves as adaptations are considered in relation to
an evolving definition of an adaptation genre. In particular, Pride and Prejudice
is regarded as a template for such a genre, a genre signified by a period setting;
period music; a focus on intertitles, words, books and authors; the foregrounding of
\‘new\’ media; the inclusion of artwork in the sets or in the mise-en-sc\ène; implicit or
explicit tributes to the author; and an appeal to a female audience through the insertion
of female-friendly episodes. The films Pride and Prejudice (1940), Pride and
Prejudice (2005) and Becoming Jane (2007) are examined in relation to this concept
of the genre \‘adaptation\’.

In today\’s educational climate, it is more important than ever that we prepare our students to be effective and competent writers who can write for a variety of purposes. How can we teach our students the skills they need to be successful while also fostering an appreciation for the process, craft, and art of writing?

Drawing from sound theory and research as well as on many years of experience in the English classroom, Fran Claggett and colleagues Joan Brown, Nancy Patterson, and Louann Reid\ have created a writing teacher\’s resource to help both new and experienced teachers sort through the often complex issues in the teaching of writing. With innovative, teacher-tested strategies for creating a classroom in which students thrive as writers, Teaching Writing: Craft, Art, Genre is a must-have addition to every writing teacher\’s library.
In this volume, you\’ll discover:

This paper reports on an approach to the analysis of form (layout and formatting) during genre recognition recorded using eye tracking. The researchers focused on eight different types of e-mail, such as calls for papers, newsletters and spam, which were chosen to represent different genres. The study involved the collection of oculographic behavior data based on the scanpath duration and scanpath length based metric, to highlight the ways in which people view the features of genres. We found that genre analysis based on purpose and form (layout features, etc.) was an effective means of identifying the characteristics of these e-mails. The research, carried out on a group of 24 participants, highlighted their interaction and interpretation of the e-mail texts and the visual cues or features perceived. In addition, the ocular strategies of scanning and skimming, they employed for the processing of the texts by block, genre and representation were evaluated.

This paper reports on an approach to the analysis of
genre recognition using eye-tracking. The researchers
focused on eight different types of e-mail, such as
calls for papers, newsletters and spam, which were
chosen to represent different genres. The study involved
the collection of oculographic behaviour data
metrics, such as fixations and saccades to highlight
the ways in which people view the features of genres.
We found that genre analysis based on purpose and
form (layout features, etc) was an effective means of
identifying the characteristics of these e-mails. The
research, carried out on a group of 24 participants,
highlighted their interaction with the e-mail texts
and the visual cues or features perceived as well as
the strategies they employed for the processing of the
texts. The results showed that readers can determine
the purpose and form of genres, that form and content
can occasionally be separable, that some features
cause fixations and that some readers are prompted to respond by using saccadic behaviour (e.g. regressive
saccades) over the shape of the e-mails (form).

This paper reports on our task-based observational, logged, questionnaire study and analysis of ocular behavior pertaining to the interaction of structural features of text in Wikipedia using eye tracking. We set natural and realistic tasks searching Wikipedia online focusing on examining which features and strategies (skimming or scanning) were the most important for the participants to complete their tasks. Our research, carried out on a group of 30 participants, highlighted their interactions with the structural areas within Wikipedia articles, the visual cues and features perceived during the searching of the Wiki text. We collected questionnaire and ocular behavior (fixation metrics) data to highlight the ways in which people view the features in the articles. We found that our participants\&$\#$39; extensively interacted with layout features, such as tables, titles, bullet lists, contents lists, information boxes, and references. The eye tracking results showed that participants used the format and layout features and they also highlighted them as important. They were able to navigate to useful information consistently, and they were an effective means of locating relevant information for the completion of their tasks with some success. This work presents results which contribute to the long-term goals of studying the features for genre and theoretical perception research.

This paper presents an overview of the ways in which genres, or structuralforms, develop in a community of practice, in this case, Wikipedia. Firstly, we collected data by performing a small search task in the Wikipedia search engine (powered by Lucene) to locate articles related to global car manufacturers, for example, British Leyland, Ferrari and General Motors. We also searched for typical biographical articles about notable people, such as Spike Milligan, Alex Ferguson, Nelson Mandela and Karl Marx. An examination of the data thus obtained revealed that these articles have particular forms and that some genres connect to each other and evolve, merge and overlap. We then looked at the ways in which the purpose and form of a biographical article have evolved over six years within this community. We concluded the work with a discussion on the usefulness of Wikipedia as a vehicle for such genre investigations. This small analysis has allowed us to start generating a number of detailed research questions as to how forms may act as descriptors of genre and to discuss plans for experimental work aimed at answering these questions.

The categorization of documents is traditionally
topic-based. This paper presents a complementary
analysis of research and experiments on genre to show
that encouraging results can be obtained by using
genre structure (form) features. We conducted an
experiment to assess the effectiveness of using
extensible mark-up language (XML) tag information,
and part-of-speech (P-O-S) features, for the
classification of genres, testing the hypothesis that if a
focus on genre can lead to high precision on normal
textual documents, then good results can be achieved
using XML tag information in addition to P-O-S
information. An experiment was carried out on a
subsection of the initiative for the evaluation of XML
(INEX) 1.4 collection. The features were extracted and
documents were classified using machine learning
algorithms, which yielded encouraging results for
logistic regression and neural networks. We propose
that utilizing these features and training a classifier
may benefit retrieval for most world wide web (WWW)
technologies such as XML and extensible hypertext
markup language) XHTML.

This paper offers a proposal for some preliminary research on the retrieval of structured text, such as extensible mark-up language (XML). We believe that capturing the way in which a reader perceives the meaning of documents, especially genres of text, may have implications for information retrieval (IR) and in particular, for cognitive IR and relevance. Previous research on \&$\#$39;shallow\&$\#$39; features of structured text has shown that categorization by form is possible. Gibson\&$\#$39;s theory of \&$\#$39;affordances\&$\#$39; and genre offer the reader the meaning and purpose - through structure - of a text, before the reader has even begun to read it, and should therefore provide a good basis for the \&$\#$39;deep\&$\#$39; skimming and categorization of texts. We believe that Gibson\&$\#$39;s \&$\#$39;affordances\&$\#$39; will aid the user to locate, examine and utilize shallow or deep features of genres and retrieve relevant output. Our proposal puts forward two hypotheses, with a list of research questions to test them, and culminates in experiments involving the studies of human categorization behaviour when viewing the structures of emails and web documents. Finally, we will examine the effectiveness of adding structural layout cues to a Yahoo discussion forum (currently only a bag-of-words), which is rich in structure, but only searchable through a Boolean search engine.

This paper reports on our approach to the analysis of genre recognition using eyetracking. We focused on a collection of different types of email which could represent different datasets, such as, mailing lists for calls for papers, newsletters, etc. We found that genre analysis based on purpose, form and layout features is potentially effective for identifying the characteristics of these datasets and we have highlighted some of the new important features of genres. The results from a pilot study showed a clear effect, with an interaction between the email texts and the visual cues or features perceived and also the strategies employed for the processing of the\ texts. We found, in our small sample, that readers can determine the purpose and form of genres and that during this process some readers do skim the shape of the e-mails (form).

Focusing on matters of power and difference, this article examines rhetorical theories
of genre and James Gee\’s theory of Discourse. Although both theories offer productive
ways of understanding literate practice, it is argued, they are limited in crucial respects.
Genre theory offers few ways of understanding how and why some social actors
have an easier time than others in producing generic texts and getting their texts
deemed \“legitimate\” by recognized authorities. Gee\’s theory, meanwhile, does not
explain precisely how and where (i.e., at which conceptual level) communicants
come to match Discourse to situation. This article contends that these limitations
may be surpassed if the two theories are brought together in a particular way. In
this new approach, genres and Discourses are viewed as mutually constitutive forms:
Genres exist within Discourses and Discourses exist within genres. In adopting this
approach, it is argued, researchers may study how particular genres are made to elicit
performances of Discourses connected to particular social groups.

This article examines the literacy practices of three school-based student activist groups: a Gay-Straight Alliance, a high school chapter of Amnesty International, and a human rights club unaffiliated with Amnesty. Specifically, this article investigates how members of the different groups advanced their projects by repurposing school genres such as hallway bulletin boards and office memos. By articulating movement messages in school genres, it is argued, activists tightened their schools\’ connections to social movements and circulated movement discourses through school space. After findings on each group are presented, the concept \“genre as discourse conduit\” is induced from the data and is used to reevaluate the nuances and implications of students\’ efforts to articulate movement discourses in school genres. Equipped with this new concept, researchers may better analyze activist groups\’ efforts to perform movement work in schools.

This article begins with a review of the forms of writing promoted in the Common Core State Standards. Across content areas, Common Core encourages teachers to attune students\&$\#$39; writing to rhetorical concerns of audience, purpose, task, and disciplinary thinking. To address these concerns, teachers might take a rhetorical approach to the study of genres. In this view, genres are seen as resources writers use to build and act in particular situations. That is, genres help writers shape their writing to fit particular audiences, purposes, tasks, and forms of disciplinary thought. This article explains the rhetorical approach to genre studies by describing how particular genres (e.g. lab reports) are used by people to negotiate particular situations (e.g. labs in chemistry classes). Examples are offered throughout the article of how genre studies can be carried out in classrooms.

\‘Public engagement with science\’ is an increasingly important but contested practice. In this study of London\&$\#$39;s Dana Centre I look at dialogue events carried out there as a case study of public engagement, performing a detailed analysis in order to examine their nature and practice. The analysis suggests that event framings (as found in the discourse of events) are multiple, varying from lecture to open debate. Furthermore the genre of events is flexible, with participant involvement organised through the use of genres derived from education, talkshows and news interviewing as well as more traditional genres such as lectures. While it seems there is flexibility in the practice of these informal dialogue events, they are, however, not open to reinvention by all participants equally. The fluidity of practice observed may be due to the newness of these kinds of processes in most people\&$\#$39;s experiences. We are therefore observing, on the ground, the traces of contrasting discourses of the right relationship between science and society.

Contemporary genre theory is probably not what you learned in college. Its dynamic focus on writing as a social activity in response to a particular situation makes it a powerful tool for teaching practical skills and preparing students to write beyond the classroom.

Although genre is often viewed as simply a method for labeling different types of writing, Deborah Dean argues that exploring genre theory can help teachers energize their classroom practices.

Genre Theory synthesizes theory and research about genres and provides applications that help teachers artfully address the challenges of teaching high school writing.

Knowledge of genre theory helps teachers:

challenge assumptions that good writing is always the same

make important connections between reading and writing

eliminate the writing product/process dichotomy

outline ways to write appropriately for any situation

supply keys to understanding the unique requirements of testing situations

Despite the important role the personal statement plays in the graduate school application processes, little research has been done on its functional features and little instruction has been given about it in academic writing courses. The author conducted a multi-level discourse analysis on a corpus of 30 medical/dental school application letters, using both a hand-tagged move analysis and a computerized analysis of lexical features of texts. Five recurrent moves were identified, namely, explaining the reason to pursue the proposed study, establishing credentials related to the fields of medicine/dentistry, discussing relevant life experience, stating future career goals, and describing personality.

\ 2006 Published by Elsevier Ltd on behalf of The American University.

This article presents a critique of the commonplace trope that holds genre to have declined in relevance under modernism. Contrary to the widespread notion that composers\’ repudiation of received tradition rendered the very idea of genre categories obsolete, this article argues that such categories have never ceased playing a decisive role in the production, circulation, and reception of post-1945 art music. In interrogating the assumptions that underpin the \“decline-of-genre\” thesis, this article underlines the utility that renewed attention to genre and its framing effects may have for the analysis of this repertoire. To this end, an alternative to standard theories of genre is advanced, one that draws on actor-network theory to destabilize categories too often conceived as fixed, solid, and binding. This revised theory of genre is applied to G\érard Grisey\’s six-part cycle, Les espaces acoustiques (1974\–85). Habitually regarded as an exemplar of spectral music, Grisey\’s cycle may be understood as participating in a number of additional generic contexts at the same time. Taking such generic overdetermination into account not only sheds light on the range of conflicting interpretations that Les espaces acoustiques affords but also suggests how music analysis might better address the heterogeneous contexts and multiple listener competences that this and other musics engage.

This article presents a critique of the commonplace trope that holds genre to have declined in relevance under modernism. Contrary to the widespread notion that composers\’ repudiation of received tradi- tion rendered the very idea of genre categories obsolete, this article argues that such categories have never ceased playing a decisive role in the production, circulation, and reception of post-1945 art music. In interrogat- ing the assumptions that underpin the \“decline-of-genre\” thesis, this article underlines the utility that renewed attention to genre and its framing effects may have for the analysis of this repertoire. To this end, an alterna- tive to standard theories of genre is advanced, one that draws on actor-network theory to destabilize catego- ries too often conceived as fixed, solid, and binding. This revised theory of genre is applied to G\érard Grisey\’s six-part cycle, Les espaces acoustiques (1974\–85). Habitually regarded as an exemplar of spectral music, Grisey\’s cycle may be understood as participating in a number of additional generic contexts at the same time. Taking such generic overdetermination into account not only sheds light on the range of conflicting interpreta- tions that Les espaces acoustiques affords but also suggests how music analysis might better address the heterogeneous contexts and multiple listener competences that this and other musics engage.\

This essay provides an analysis of \“Tibaq,\” an elegy written in Edward W. Said\’s honor by the acclaimed Palestinian poet Mahmoud Darwish. Noting that the poem exhibits aspects of a number of genres and demonstrates Darwish\’s generally innovative approach to traditional literary forms, I consider how he has transformed the\ marthiya, the elegiac genre that has been part of the Arabic literary tradition since the pre-Islamic era. I argue that Darwish used the elegy-writing occasion to comment on Said\’s politics and to make respectful use of his critical methods, particularly his interdisciplinary borrowing of counterpoint, a concept typically used in music analysis. By reworking the conventionalmarthiya\ to represent Said\’s life in exile and his diverse body of work and by putting his contrapuntal method into practice in the conversation depicted in the poem, Darwish elegizes a long-lasting friendship and shores up a shared political cause. (RD)

This paper presents the results of a genre analysis of two web-based collaborative authoring environments, Wikipedia and Everything2, both of which are intended as repositories of encyclopedic knowledge and are open to contributions from the public. Using corpus linguistic methods and factor analysis of word counts for features of formality and informality, we show that the greater the degree of post-production editorial control afforded by the system, the more formal and standardized the language of the collaboratively-authored documents becomes, analogous to that found in traditional print encyclopedias. Paradoxically, users who faithfully appropriate such systems create homogeneous entries, at odds with the goal of open-access authoring environments to create diverse content. The findings shed light on how users, acting through mechanisms provided by the system, can shape (or not) features of content in particular ways. We conclude by identifying sub-genres of web-based collaborative authoring environments based on their technical affordances.

Like navigating a ship (Hutchins, 1993), conducting monetary policy involves complex processes of distributed cognition. The difference is that, in a governmental financial institution like the Bank of Canada, much of the cognitive work and its distribution are accomplished by means of interweaving webs of genres of discourse. The genres of the Bank enable both the forming and reforming of policy as well as the constant reflexive self-monitoring necessary for maintaining the robustness of the institution and for achieving its goals. The genres operate as sites for the communal construction of and negotiation over knowledge; paradoxically, as institutionalized artifacts, they both channel and codify thinking at the same time that they function as sites for change.

The paradoxical dependence of genre histories on historically accidental acts of naming and on transcendental critical imagination is demonstrated by the Chinese western, a little-understood genre that has become a major part of Chinese-language cinema over the past two decades. After the genre was proposed in 1984 by the Chinese film theorist Zhong Dianfei, as a realist reaction against the ideological excesses of the Cultural Revolution, its ambiguous status as a Hollywood import quickly became a proxy for larger cultural battles over China\&$\#$39;s place in an American-dominated international cultural system. Moreover, despite assurances by Zhong and other critics that the genre was not susceptible to Hollywood influence, the production history of the genre from the late 1980s to the present demonstrates a pattern of generic influence and eventual fusion that tracks Chinese state-owned studios\&$\#$39; evolution from subsidized propaganda organs to participants in a globalized entertainment industry.

The invitation poem, in which the beloved is urged to come away to an idealized place, is among the most enduring genres of European love poetry. The tradition begins with the biblical Song of Songs, which sets several important precedents: a dialogic framework, a close association of lover and landscape, and a sense of love as exile. Medieval and Renaissance invitation poems follow the Song of Songs but shift its emphases toward monologue, materialism, and importunity. Milton thus inherits a dual tradition of invitational poetry, both aspects of which figure prominently in\ Paradise Lost. Recognizing the traditional features of the genre therefore illuminates significant moments in the epic, including, notably, Eve\’s final speech. The invitational tropes in this passage reveal how Eve reconceives of exile as homecoming and how she reestablishes a sense of radical mutuality with Adam by completing a dialogue that began before the Fall.\ (EG)

This paper examines Johann Ulrich Bilguer{\textquoteright}s 1761 dissertation on the inutility ofamputation practices, examining reasons for its influence despite its nonconformance to genreexpectations. I argue that Bilguer{\textquoteright}s narratives of patient suffering, his rhetorical likening ofsurgeons to soldiers, and his attention to the horrific experiences of war surgeons all contributeto the dissertation{\textquoteright}s wide impact. Ultimately, the dissertation offers an example of affectiverhetorics employed during the Enlightenment, demonstrating how bodies and environments{\textemdash}those Bambient rhetorics^ made visible in a text{\textemdash}can contribute to an analysis of genredeviations and widen the scope of genre studies.

This article is concerned with the complex relations between institutional politics and aesthetics in oppositional forms of popular culture. Indie is a contemporary genre which has its roots in punk\&$\#$39;s institutional and aesthetic challenge to the popular music industry but which, in the 1990s, has become part of the \‘mainstream\’ of British pop. Case studies of two important \‘independents\’, Creation and One Little Indian, are presented, and the aesthetic and institutional politics of these record companies are analysed in order to explore two related questions. First, what forces lead \‘alternative\’ independent record companies towards practices of professionalization and of partnership/collaboration with major corporations? Second, what are the institutional and political-aesthetic consequences of such professionalization and partnership? In response to the first question, the article argues that pressures towards professionalization and partnership should be understood not only as an abandonment of previously held idealistic positions (a \‘sell-out\’) and that deals with major record companies are not necessarily, in themselves, a source of aesthetic compromise. On the second question, it argues that collaboration with major record companies entails a relinquishing of autonomy for alternative independent record companies; but perspectives which ascribe negative aesthetic consequences directly to such problematic institutional arrangements may well be flawed.

This paper explores the non-adoption of an innovation via the concept of hybrid genres, that is digitalgenres that emerge from a non-digital material precedent. As instances of innovation these are often resisted because they disturb the order of activity and balance of power relations in a given situation, or require users to make conceptual and physical adaptation efforts that they consider too costly. The authors investigate such issues with a case study of the introduction of a hybrid digital genre, ODR or online dispute resolution, in legal practice.

Within the last two decades, a number of researchers have beeninterested in genre as a tool for developing Ll and L2 instruction. Both genre and genre-based pedagogy, however, have been conceived of in distinct ways by researchers in different scholarly traditions and in different parts of the world, making the genre literature a complicated body of scholarship to understand. The purpose of this article is to provide a map of current genre theories and teaching applications in three research areas where genre scholarship has taken significantly different paths: (a) English for specific purposes (ESP), (b) North American New Rhetoric studies, and (c) Australian systemic functional linguistics. The article compares definitions and analyses of genres within these three traditions and examines their contexts, goals, and instructional frameworks for genre-based pedagogy. The investigation reveals that ESP and Australian genre research provides ESL instructors with insights into the linguistic features of written texts as well as useful guidelines for presenting these features in classrooms. New Rhetoric scholarship, on the other hand, offers language teachers fuller perspectives on the institutional contexts around academic and professional genres and the functions genres serve within these settings.

The Internet, in Brian Trench{\textquoteright}s (2008) words, {\textquotedblleft}is turning science communication
inside-out{\textquotedblright} and, as a result, the boundaries between internal and external science
communication are {\textquotedblleft}eroding.{\textquotedblright} Yet these boundaries have long been complicated by
{\textquotedblleft}para-scientific genres{\textquotedblright} such as trade magazines, as Sarah Kaplan and Joanna Radin
(2011) show, when they detail genres that exist {\textquotedblleft}alongside{\textquotedblright} mainstream scientific
genres. These genres{\textquoteright} existence is dependent upon their association with established
scientific media and genres, such as the scholarly journal and the scientific research
article. Moreover, these genres reach a wider audience, including policymakers and
others involved in the community, with a mission of influencing the direction of a
discipline or field. Bringing together these ideas, Carolyn R. Miller and I (forthcoming)
extend the notion of parascientific genres to account for emerging genres of science
communication online, suggesting that the rhetorical work parascientific genres do has
been partially moved into more public (or, external) spheres of scientific discourse.
This dissertation focuses on the erosion of boundaries between internal and external
science communication to explore the possibilities for parascientific genres{\textemdash}and looks
specifically to citizen science as a site of inquiry. While some attention has been paid to
citizen science, it is often devoted to scientist-driven cases, where discursive acts are
governed by rhetorics of professionalized science. Participant-driven citizen science
can depart from these conventions, I maintain. And interesting examples of
parascientific genres, or genres that demonstrate characteristics of both internal and
external science communication, are available for examination.

This article explores the intersection of Rhetorical Genre Studies (RGS) and Actor-Network Theory (ANT). These two traditions are particularly important in the Canadian research context. We examine genre and ANT to uncover what we believe is a complementary relationship that promises much to the study of science, especially in the age of the internet. Specifically, we see RGS as a way to account for how objects come to {\textquotedblleft}be{\textquotedblright} as complex wholes and so act across/among levels of network configurations. Moreover, the nature of these objects{\textquoteright} (instruments{\textquoteright}) action is such that we may attribute them to a kind of rhetorical agency. We look to the InFORM Network{\textquoteright}s grassroots, citizen science-oriented response to the Fukushima Daiichi nuclear disaster as a case that exemplifies how a combined RGS and ANT perspective can articulate the complex wholes of material/rhetorical networks.

Exploring how political sentiments, popular desires, and social anxieties have been reflected in movies from the Dead End Kids serial to the ghetto action flicks of the 1990s, this book offers the first full-length study of the American film cycle and its relation to film genres and contemporary social issues.

From the publisher\&$\#$39;s website:
\"This second edition of the classic linguistics text provides a basic descriptive terminology for prose style. What is a noun style? A verb style? A hypotactic or a paratactic one? How does the running style differ from the periodic style? What do \"high, middle, and low\" prose style mean? How might one apply the classical terminology of rhetorical figures to prose analysis? Analyzing Prose supplies detailed, carefully charted answers to these questions in order to teach the student of prose style how and where to begin.\"

\"If economics is about the allocation of resources, then what is the most precious resource in our new information economy? Certainly not information, for we are drowning in it. No, what we are short of is the attention to make sense of that information.

With all the verve and erudition that have established his earlier books as classics, Richard A. Lanham here traces our epochal move from an economy of things and objects to an economy of attention. According to Lanham, the central commodity in our new age of information is not stuff but style, for style is what competes for our attention amidst the din and deluge of new media. In such a world, intellectual property will become more central to the economy than real property, while the arts and letters will grow to be more crucial than engineering, the physical sciences, and indeed economics as conventionally practiced. For Lanham, the arts and letters are the disciplines that study how human attention is allocated and how cultural capital is created and traded. In an economy of attention, style and substance change places. The new attention economy, therefore, will anoint a new set of moguls in the business world\—not the CEOs or fund managers of yesteryear, but new masters of attention with a grounding in the humanities and liberal arts.

Lanham\’s The Electronic Word was one of the earliest and most influential books on new electronic culture. The Economics of Attention builds on the best insights of that seminal book to map the new frontier that information technologies have created.\"

In recent decades New Testament scholarship has developed an increasing interest in how the Gospel of John interacts with literary conventions of genre and form in the ancient Jewish and Greco-Roman context. The present volume brings together leading scholars in the field in order to discuss the status quaestionis and to identify new exegetical frontiers. In the Fourth Gospel, genres and forms serve as vehicles of ideological and theological meaning. The contributions to this volume aim at demonstrating how awareness of ancient and modern genre theories and practices advances our understanding of the Fourth Gospel, both in terms of the text as a whole and in terms of the various literary tiles that contribute to the Gospel{\textquoteright}s genre mosaic.

Finding ways to build on the language abilities students of diverse cultures bring to school, this book recounts an experiment in helping urban African American high school students to interpret literature by drawing on their own rich oral tradition of \"signifying.\" The book defines signifying as a contest in which the most imaginative user of indirection, irony, and insult wins. The book describes a literature unit taught with inquiry and discussion methods under typical urban conditions in two high schools. The book reports that the academically marginal students posted statistically significant gains in using new awareness of metaphoric language to interpret complex relationships in literature. Chapters of the book are: The Problem; Rationale; Signifying in African American Fiction; Prior Research on Culture and Comprehension; Research Design and Implementation; Measurement Instruments; Observations of the Instructional Process; Results; Talk in the Classroom: The Transformation of Signifying; and Implications and Final Thoughts. Technical notes, reading tests, and tests of social and linguistic knowledge are attached.

Instead of considering film and television adaptations in the context of the source texts they are adapting, this essay proposes another context for their reception and analysis: the genre of adaptation itself. Focusing on the Hollywood traditions of masculine adventure and feminine romance associated respectively with adaptations of Alexandre Dumas p\ère and fils, it identifies four genre markers common to both traditions that make it more likely a given adaptation will be perceived as an adaptation even by an audience that does not know its source, and one anti-marker associated with adaptations in the tradition of the younger Dumas but not the elder. The essay concludes by proposing adaptation as a model for all Hollywood genres.

Why do some music styles gain mass popularity while others thrive in small niches? Banding Together explores this question and reveals the attributes that together explain the growth of twentieth-century American popular music. Drawing on a vast array of examples from sixty musical styles--ranging from rap and bluegrass to death metal and South Texas polka, and including several created outside the United States--Jennifer Lena uncovers the shared grammar that allows us to understand the cultural language and evolution of popular music.

What are the common economic, organizational, ideological, and aesthetic traits among contemporary genres? Do genres follow patterns in their development? Lena discovers four dominant forms--Avant-garde, Scene-based, Industry-based, and Traditionalist--and two dominant trajectories that describe how American pop music genres develop. Outside the United States there exists a fifth form: the Government-purposed genre, which she examines in the music of China, Serbia, Nigeria, and Chile. Offering a rare analysis of how music communities operate, she looks at the shared obstacles and opportunities creative people face and reveals the ways in which people collaborate around ideas, artworks, individuals, and organizations that support their work.

Questions of symbolic classification have been central to sociology since its earliest days, given the relevance of distinctions for both affiliation and conflict. Music and its genres are no exception, organizing people and songs within a system of symbolic classification. Numerous studies chronicle the history of specific genres of music, but none document recurrent processes of development and change across musics. In this article, we analyze 60 musics in the United States, delineating between 12 social, organizational, and symbolic attributes. We find four distinct genre types\—Avant-garde, Scene-based, Industry-based, and Traditionalist. We also find that these genre types combine to form three distinct trajectories. Two-thirds originate in an Avant-garde genre, and the rest originate as a scene or, to our surprise, in an Industry-based genre. We conclude by discussing a number of questions raised by our findings, including the implications for understanding symbolic classification in fields other than music.

Although the class in advanced public speaking is a mainstay of communication
instruction, little scholarship has addressed the nature of expertise in public speaking or
the instructional techniques by which it is imparted. The present study conducted
in-depth interviews with 23 active college teachers of advanced public speaking, inquiring
specifically about their goals, curriculum, and classroom activities for the class and
the ways in which these were distinguished from the basic speech class. Qualitative
thematic analysis yielded six distinctive themes: (1) extensive speaking performance and
individualized critique, (2) learning additional genres, (3) learning additional theory,
(4) intensive study of models, (5) extensive self-analysis, and (6) sophisticated processes
for analyzing speaking situations. Two broad pedagogical tensions, both with classical
roots, attend these issues: (1) the tension between teaching theory and facilitating
practice and (2) the tension between teaching forms of speaking and teaching rhetorical
processes.

},
keywords = {curriculum, public speaking instruction},
author = {Levasseur, David G. and Dean, Kevin W. and Pfaff, Julie}
}
@article {841,
title = {Cost-Sensitive Feature Extraction and Selection in Genre Classification},
journal = {Journal for Language Technology and Computational Linguistics},
volume = {24},
year = {2009},
note = {+ pdf+ j pdf
},
month = {2009},
pages = {57{\textendash}72},
abstract = {Automatic genre classification of Web pages is currently young comparedto other Web classification tasks. Corpora are just starting to be collected
and organized in a systematic way, feature extraction techniques are incon
sistent and not well detailed, genres are constantly in dispute, and novel
applications have not been implemented. This paper attempts to review
and make progress in the area of feature extraction, an area that we believe
can benefit all Web page classification, and genre classification in particular.
We first present a framework for the extraction of various Web-specific
feature groups from distinct data models based on a tree of potentials
models and the transformations that create them. Then we introduce the
concept of cost-sensitivity to this tree and provide an algorithm for per
forming wrapper-based feature selection on this tree. Finally, we apply the
cost-sensitive feature selection algorithm on two genre corpora and analyze
the performance of the classification results.
},
keywords = {automation, classificaiton, digital, genre, information science, web},
author = {Levering, Ryan and Cutler, Michal}
}
@article {RN152,
title = {A project-based approach to teaching research writing to nonnative writers},
journal = {IEEE Transactions on Professional Communication},
volume = {46},
number = {3},
year = {2003},
pages = {210-220},
doi = {10.1109/TPC.2003.816788},
url = {http://ieeexplore.ieee.org/xpl/articleDetails.jsp?arnumber=1227593},
author = {Levis, J. M. and Levis, G. M}
}
@book {1294,
title = {The World in Six Songs: How the Musical Brain Created Human Nature},
year = {2008},
pages = {354},
publisher = {Penguin Group},
organization = {Penguin Group},
address = {New York, NY},
abstract = {

Dr. Levitin identifies six fundamental song functions or types-friendship, joy, comfort, religion, knowledge, and love-then shows how each in its own way has enabled the social bonding necessary for human culture and society to evolve. He shows, in effect, how these \"six songs\" work in our brains to preserve the emotional history of our lives and species.

Dr. Levitin combines cutting-edge scientific research from his music cognition lab at McGill University and work in an array of related fields; his own sometimes hilarious experiences in the music business; and illuminating interviews with musicians such as Sting and David Byrne, as well as conductors, anthropologists, and evolutionary biologists. The World in Six Songs is, ultimately, a revolution in our understanding of how human nature evolved-right up to the iPod.
\

Scholars of rhetoric and writing have long recognized the mediated nature of rhetorical action. From Plato{\textquoteright}s early indictments of writing as enemy of memoria to Burke{\textquoteright}s recognition of instrumental causes to recent analyses of digital mediation (Haas 1996; Spinuzzi 2008; Swarts 2008; Ittersum and Ching 2013), the study of meaning-making refuses one-to-one, transparent theories of communication, instead recognizing that there{\textquoteright}s more to rhetorical action than humans. This article follows the trail of Haas, Swarts and others, arguing that analyses of mediation uncover much about human motives, digital communities and rhetorical action. I argue that technologies often function as rhetorical genres, providing what Miller characterizes as {\textquotedblleft}typified rhetorical actions based in recurrent situations{\textquotedblright} that occur in uniquely digital spaces (159). Working from sites of participatory archival creation and curation[1], I argue that invisible rhetorical genres operating at macroscopic levels of scale are central to shaping individual and communal activity in sites of distributed social production. To support this claim, I investigate two applications {\textendash} a content management system (CMS) called Gazelle and a bittorrent tracker called Ocelot {\textendash} to demonstrate how largely invisible server-side software shapes rhetorical action, circumscribes individual agency and cultivates community identity in sites of participatory archival curation. By articulating CMSs and other macroscopic software as rhetorical genres, I hope to extend nascent investigations into the medial capacities of digital tools that shape our collective digital experience.

As a focus of study, \‘social media\’ tend to lack definitional clarity and grounding in theories of media and text. This paper establishes and discusses a conceptual framework for defining social media as communicative genres, constituted by the interplay between interactive functionalities configured at the software level and the invocation and appropriation of various software functionalities to achieve specific purposes in and through users\’ actual communicative practices. I suggest that social media might be seen as particularly dynamic genres, subject to continuous disruption and uncertainty,owing to their deinstitutionalised and participatory character, and the shifting roles of producers and recipients in the networks and conversations that make up social media content.

In this article we argue that the concept of genre has a valuable function within sociological theory, particularly for understanding emerging communicative practices within social and personal media. Genres span the whole range of recognizable forms of communication, play a crucial role in overcoming contingency and facilitate communication. Their function is to enhance composing and understanding of communication by offering interpretative, recognizable and flexible frames of reference. As such, genres generate a sense of stability in modern complex societies. Genres ought to be seen as an intermediary level between the levels of media and text, however influenced by both. They operate as interaction between two interdependent dimensions, conventions and expectations, both of which are afforded by media and specific texts. In this article these relationships are illustrated through two cases of emerging personal media genres: the online diary and the camphone self-portrait.

New media are having a significant impact on science communication, both on the way scientists communicate with peers and on the dissemination of science to the lay public. Science blogs, in particular, provide an open space for science communication, where a diverse audience (with different degrees of expertise) may have access to science information intended both for nonspecialist readers and for experts. The purpose of this article is to analyze the strategies used by bloggers to communicate and recontextualize scientific discourse in the realm of science blogs. These strategies involve adjusting information to the readers{\textquoteright} knowledge and information needs, deploying linguistic features typical of personal, informal, and dialogic interaction to create intimacy and proximity, engaging in critical analysis of the recontextualized research and focusing on its relevance, and using explicit and personal expressions of evaluation. The article shows that, given the diverse audience of science posts, bloggers display a blending of discursive practices from different discourses and harness the affordances of new media to achieve their rhetorical purposes.

Blogs provide an open space for scholars to share information, communicate about their research, and reach a diversified audience. Posts in academic blogs are usually hybrid texts where various genres are connected and recontextualized; yet little research has examined how these genres function together to support scholars{\textquoteright} activity. The purpose of this article is to analyze how the affordances of new media enable the integration of different genres and different languages in research group blogs written by multilingual scholars and to explore how various genres are coordinated in these blogs to accomplish specific tasks. The study reported in this article shows that the functionalities of the digital medium allow research groups to incorporate myriad genres into their genre ecology and interconnect these genres in opportunistic ways to accomplish complex objectives: specifically, to publicize the group{\textquoteright}s research and activities, make the work of the group members available to the disciplinary community, strengthen social links within their community and connect with the interested public, and raise social awareness. Findings from this study provide insights into the ways in which scholars write networked, multimedia, multigenre texts to support the group{\textquoteright}s social and work activity.

Abstract: This paper explores how writers of online diaries, or weblogs,
about public affairs negotiate their relationship with the genres and
social position of news journalism. Although often labelled radical
journalists, this paper finds, through interviews with seven webloggers,
that such writers orient themselves in complex ways towards news
journalism, at times drawing upon its modes of knowledge, at times
setting themselves in opposition to it and at times seeking to cross
discursive spaces. The paper concludes that, rather than emerging as a
new public communicative form or genre in relation to journalism, the
distinctiveness of the form is in its generic heterogeneity and ability to
traverse the boundaries of news and other institutional discourses.

This study asks questions about the nature of writing processes in classrooms. As students go from one classroom to another, they are presented with new speech situations, and they must determine what constitutes appropriate ways of speaking and writing in each new territory. How do students, in the course of the semester, figure out what the writing requirements are in that discipline and for that teacher, and how do they go about producing it? In order to answer these questions the researcher followed one college student\&$\#$39;s writing experiences in one class per semester during his freshman and sophomore years. Follow-up data were collected during his junior year. Four research methods were used: observation, interviews, composing-aloud protocols, and text analysis. Conclusions are drawn from the data about how this student figured out what constituted acceptable writing in each classroom, and how he worked to produce it. Also presented are conclusions about what enhanced or denied his success in communicating competently in unfamiliar academic territories. Affecting his success were unarticulated social aspects of classroom contexts for writing as well as explicitly stated requirements and instructions.

Machine learning expert and programmer with \"music intelligence\" company The Echo Nest, Glenn McDonald has used Echo Nest data to develop a clickable music genre map. The map is generated by an unpublished algorithm, but McDonald suggests on his blog that it is arranged according to axes that generally place low-energy music at the bottom left and high-energy music at the top right. Click on a genre to hear an excerpt from a song within that genre, or click the \"\>\>\" symbol next to the genre to see a similar clickable map of artists within that genre.

Crowdfunding is a novel mechanism for garnering monetary support from the online public, and increasingly it is being used to fund science. This article reports a small-scale study examining science-focused crowdfunding proposals from Kickstarter.com. By exploring the rhetoric of these proposals with respect to traditional grant funding proposals in the sciences, this study aims to understand how the language of science may be imported into this popular genre.

The volume \“Genres on the Web\” has been designed for a wide audience, from the expert to the novice. It is a required book for scholars, researchers and students who want to become acquainted with the latest theoretical, empirical and computational advances in the expanding field of web genre research. The study of web genre is an overarching and interdisciplinary novel area of research that spans from corpus linguistics, computational linguistics, NLP, and text-technology, to web mining, webometrics, social network analysis and information studies. This book gives readers a thorough grounding in the latest research on web genres and emerging document types. The book covers a wide range of web-genre focussed subjects, such as: \• The identification of the sources of web genres \• Automatic web genre identification \• The presentation of structure-oriented models \• Empirical case studies One of the driving forces behind genre research is the idea of a genre-sensitive information system, which incorporates genre cues complementing the current keyword-based search and retrieval applications.

This volume explores cultural innovation and transformation as revealed through the emergence of new media genres. New media have enabled what impresses most observers as a dizzying proliferation of new forms of communicative interaction and cultural production, provoking multimodal experimentation, and artistic and entrepreneurial innovation. Working with the concept of genre, scholars in multiple fields have begun to explore these processes of emergence, innovation, and stabilization. Genre has thus become newly important in game studies, library and information science, film and media studies, applied linguistics, rhetoric, literature, and elsewhere. Understood as social recognitions that embed histories, ideologies, and contradictions, genres function as recurrent social actions, helping to constitute culture. Because genres are dynamic sites of tension between stability and change, they are also sites of inventive potential. Emerging Genres in New Media Environments brings together compelling papers from scholars in Brazil, Canada, England, and the United States to illustrate how this inventive potential has been harnessed around the world.

The blog illustrates well the constant change that characterizes electronic media. With a rapidity equal to that of their initial adoption, blogs became not a single genre but a multiplicity. To explore the relationship between the centrifugal forces of change and the centripetal tendencies of recurrence and typification, we extend our earlier study of personal blogs with a contrasting study of the kairos, technological affordances, rhetorical features, and exigence for what we call public affairs blogs. At the same time, we explore the relationship between genre and medium, examining genre evolution in the context of changing technological affordances. We conclude that genre and medium must be distinguished and that the aesthetic satisfactions of genre help account for recurrence in an environment of change.

Genre marks large-scale repeated patterns of meaning in human symbolic production and interaction. Approaches to genre can be divided into the formalistthematic, attending to categories and discriminations based on linguistic or textual elements and drawing from cognitive theories; and the pragmatic, attending primarily to use-patterns drawing from social theories of function, action, and communal interaction. This overview draws from disciplines explicitly concerned with natural language, including literature, rhetoric, and several areas of linguistics. A distinction between rational and empirical approaches to genre affects both how genre is conceived and what methods are used for analysis. The rational approach grounds genre in a principle or theory determined by the theorist, yielding a relatively small, closed set of genres; the empirical grounds genre in the experience of those for whom genres are significant, yielding an historically changing, open set of genres. Genre analysis is applied in many discourse disciplines and for a variety of purposes, both descriptive and prescriptive.

This study investigated the links between the preference for 4 rap music genres (American rap, French rap, hip hop/soul, and gangsta/hardcore rap) and 5 types of deviant behaviors in adolescence (violence, theft, street gangs, mild drug use, and hard drug use). The effects of peers\&$\#$39; deviancy, violent media, and importance given to lyrics were statistically controlled. A self-report questionnaire was distributed to a sample of 348 bilingual French-Canadian adolescents (age: M = 15.32; SD = 0.9; 185 girls and 163 boys). Results indicated that rap music as a whole was linked to deviant behaviors, however the nature of the relation differed according to genres. Preference for French rap had the strongest links to deviant behaviors, whereas preference for hip hop/soul was linked to less deviant behaviors. Results are discussed within the psychosocial and sociocognitive perspectives on music influence in adolescence and also within the perspective of normative deviant behaviors in adolescence.

In this article we compare two different perspectives on the National Science Foundation(NSF) grant proposal and funding process: that depicted by the genre-dominantNSF Web site and that articulated by several successful NSF-funded researchers.Using genre theory and play theory to map the respective processes, we foundthat a systems-based refocusing of audience analysis{\textemdash}namely, genre field analysis{\textemdash}allows researchers a more accurate understanding of their roles as agents withinthe system.

This paper takes the country music song and video \‘\‘Honky Tonk Badonkadonk\’\’ as a case study of the deeply ambivalent potentials of hybridity in contemporary culture. \‘\‘Badonkadonk\’\’ was celebrated by some as joining hip hop and country music to create a \‘\‘hybrid,\’\’ a type of cultural text valorized in various intellectual and popular discourses as both embodying and advancing progressive social values such as antiracism and antiemperialism. This essay, however, uses close reading and an account of \‘\‘Badonkadonk\’s\’\’context within country music\’s generic selfconstruction to expose the conflicted nature of the text\’s hybridity, which includes substantial reactionary and essentialist elements. \‘\‘Badonkadonk\’\’ caters to American culture\’s growing embrace of hybridity while continuing twentieth century efforts to downplay country music\’s racially hybrid roots.

This instance highlights problems in concepts such as hybridity and cosmopolitanism. This includes the crucial distinction between consciously hybrid works of art or culture, and the less consciously hybrid objects that emerge \‘\‘naturally\’\’ from the mixing of cultures. The rise of selfconsciously hybrid culture and the celebration of hybridity have been partially enabled by contemporary academic theories of hybridity\’s progressivism. The essay concludes by highlighting some of the strategic and philosophical shortcomings of such selfconscious hybridism.

When doing research on design and genre development in digital media and for mobile platforms based on a combination of analysis and practical development, integrating the different aspects in a coherent model presents a challenge. This article outlines such a model, in which design is key to understanding the relationships between technology, genre, and practical development. The model is based on research on digital media and practical development of services for mobile devices. Overall, the model contributes to a methodology that combines genre studies and design-related research.

Media forms play a vital role in making cultural and political sense of the complex economic developments and profound ideological uncertainties which have accompanied the global recession. This article analyses how popular genre cinema tackles the inequalities \– in particular, gender inequalities \– that follow from the financial crisis, situating Hollywood\’s representational strategies in the context of recessionary media culture. It posits and analyses two sub-genres which demonstrate different approaches to an altered socio-economic climate: the recessionary \‘chick flick\’ and the corporate melodrama. Amid the financial crisis these sub-genres shift emphasis to respond to changing circumstances, notably in relation to the once-ubiquitous trope of choice central to post-feminist media culture; neoliberal choice rhetoric is now considerably harder to maintain. The two case studies contrast the different ways in which female-centred chick flicks and male-centred corporate melodramas address unemployment, downward mobility and the challenges of work\–life balance.

Music Genres and Corporate Cultures explores the seemingly haphazard workings of the music industry, tracing the uneasy relationship between economics and culture; {\textquoteleft}entertainment corporations\&$\#$39; and the artists they sign. Keith Negus examines the contrasting strategies of major labels like Sony and Polygram in managing different genres, artists and staff. How do takeovers affect the treatment of artists? Why has Polygram been perceived as too European to attract US artists? And how did Warner\&$\#$39;s wooden floors help them sign Green Day? Through in-depth case studies of three major genres; rap, country, and salsa, Negus explores the way in which the music industry recognises and rewards certain sounds, and how this influences both the creativity of musicians, and their audiences. He examines the tension between raps public image as the spontaneous {\textquoteleft}music of the streets\&$\#$39; and the practicalities of the market, and asks why country labels and radio stations promote top-selling acts like Garth Brooks over hard-to-classify artists like Mary Chapin-Carpenter, and how the lack of soundscan systems in Puerto Rican record shops affects salsa music\&$\#$39;s position on the US Billboard chart. Drawing on over seventy interviews with music industry personnel in Britain and the United States, Music Genres and Corporate Cultures shows how the creation, circulation and consumption of popular music is shaped by record companies and corporate business styles while stressing that music production takes within a broader culture, not totally within the control of large corporations.

The clinical case report is a popular genre in medical writing. While authors and editors have debated the justification for the clinical case report, few have attempted to examine the long history of this genre in medical literature. By reviewing selected literature and presenting and discussing excerpts of clinical case reports from Egyptian antiquity to the 20th century, we illustrate the presence of the genre in medical science and how its form developed. Central features of the clinical case report in different time periods are discussed, including its main components, structure, style and author presence.

This article examines one of the most popular computer games\ The Sims\ to consider whether the shared understanding of the game\&$\#$39;s \"rules\&$\#$39; can be understood through the concept of genre. The main argument is that the genre\ being used is \"real life\&$\#$39;. The game\&$\#$39;s creators are assuming the players share with them, and with each other, an understanding of real life, which can be transposed into the game world. The article explores this notion of a real-life narrative that is shared, by considering the ways in which family and other relationships are both conceptualized and played out in the game. Whilst real life as genre\ is problematized here, the tensions and conflicts of contemporary real-world conceptualizations of family and other relationships do appear to be represented in the game. What is interesting then, given this, are the ways in which players negotiate the gameplay. The article concludes by suggesting that players are active agents negotiating both the game\&$\#$39; s version of real life, and their own real-world experiences.

In the past decades, the EAP field has witnessed a growing interest in compiling multilingual corpora of various sizes. The aim has been to investigate how scholars whose first language is not English use English for academic and research communication. This flourishing field of investigation, cutting across a broad repertoire of genres, has been fuelled by the fact that the international academic and research arena has strongly favoured the role of English as the medium for communication (Lillis/Curry 2010; Mauranen 2012). However, this field of investigation has not yet become a matter of conceptual enquiry. To fill this gap, the aim of this chapter is (i) to critically review the main research trends used to analyse genres by means of multilingual corpora, (ii) to examine the reasons for the paucity of systematic contrastive analyses at the phraseological level for profiling L2 English academic texts and defining what an {\textquoteleft}expert{\textquoteright} academic L2 English user is, and (iii) to discuss the challenges that conducting large-scale empirical studies of academic English variants in the written domain would pose if codification of those variants were undertaken. Essentially, in what follows I critically assess relevant concepts in contrastive studies of EAP, address emerging methodological trends and reflect on a number of topics of current interest in relation to multilingual corpora. To do so I will draw on a combination of literature survey, bibliometric data and conceptual analysis, the purpose being two-fold. Firstly, it is of interest to the EAP scholarly community to determine how multilingual corpora can best help EAP researchers identify genre features across cultures and languages. Secondly, given its obvious practical implications, it is also of interest to show how EAP teachers can make research-informed decisions based on multilingual corpora with a view to catering to their students{\textquoteright} learning needs in the best possible way.

There is little dispute that technologies are impacting academic communication today, rendering new forms of accessing information and disseminating knowledge. To explore this impact, in the first part of the paper I review a selection of scholarly literature that addresses ways in which digital technologies are shifting the scholars{\textquoteright} information access behavior and introducing new forms of research dissemination. I also discuss how these new forms of communication are modeling new ecologies of genre systems and genre sets. In the second part of the paper I conduct genre analysis with a sample corpus of texts from different disciplines to illustrate how the emergence of new multimedia genres and the use of multimodality, hypertextuality and interdiscursivity features in genres within electronic environments appear to be pointing at generic evolution and innovation. In light of the findings, I propose some areas in which genre research can engage in interdisciplinary conversation (with ethnography, academic/digital literacies studies, situated genre analysis and reception studies). Regarding EAP instruction, I suggest a pedagogy that provides corpus-based linguistic and rhetorical input on the new genre formats, opportunities for noticing, hands-on practice and critical awareness of aspects of genre innovation and change.

Drawing on bibliometric methods (citation analysis and content analysis) and literature review, this paper offers some critical reflections of how genre analysis has been used, applied, expanded and refined to address the challenges of a culturally and linguistically diverse academic and research community. The first reflection opens with a brief review of the privileged status of English as the international language of academic and research communication to discuss contrasting scholarly positions that regard {\textquoteleft}Englishization{\textquoteright} as either {\textquoteleft}help{\textquoteright} or {\textquoteleft}hindrance{\textquoteright}. The second reflection focuses on rhetorical move analysis, an aspect of genre theory that to date has been little considered outside ESP/EAP traditions of genre analysis. It discusses how move analysis, in cross-fertilization with various theoretical/analytical frameworks, can add to our understanding of the way L2 academic English writers accomplish meso- and micro-rhetorical manoeuvres. The final reflection touches upon the impact of internationalization and research assessment policies on the current knowledge exchange, dissemination and publication practices to emphasize the value of the Swalesian task-based approach and advocate a multiliterate rhetorical consciousness-raising pedagogy. The paper concludes with some suggestions for future genre research and proposes ways of articulating cogent language instructional intervention to empower members of bi-/multiliterate academic and research communities professionally.

This article compares the Article of the Future (AofF) prototypes (\<http://www.articleofthefuture.com/\>) with a corpus of journal articles (Journal Article Corpus {\textendash} JAC) to demonstrate that the article genre in an online environment is a {\textquotedblleft}stabilised-for-now or stabilised-enough{\textquotedblright} site for social interaction (Schryer, 1994, p. 108). Results show that the prototypes adhere to the typical structural patterns of the JAC texts, while also embedding discernible structural variations across the disciplinary spectrum. They display generic stability concerning authors{\textquoteright} use of intertextuality for framing their texts in a social/institutional context. Comparison of the AofF with the JAC texts also illustrates a similar lexicogrammatical profile. Consistent with previous literature, recurring bundles in the AofF prototypes are associated with structural elaboration, complexity and a compressed style, and perform referential, text-organising and stance functions in the discourse. Complementing corpus findings, an exploratory survey of authors suggests that their actual text-composing/reading practices of online articles are governed by the long-established communicative purposes of the genre. Findings suggest, though, that the new online part-genres (research highlights, graphical abstracts, interactive graphs, embedded videos, hyperlinks), potential strategies for generic change, might be changing the writers{\textquoteright} perceptions towards online articles. The article concludes with some practical implications for ESP practitioners.

This paper describes a corpus-based approach to teaching and learning spoken grammar for English for Academic Purposes with reference to Bhatia{\textquoteright}s (2002) multi-perspective model for discourse analysis: a textual perspective, a genre perspective and a social perspective. From a textual perspective, corpus-informed instruction helps students identify grammar items through statistical frequencies, collocational patterns, context-sensitive meanings and discoursal uses of words. From a genre perspective, corpus observation provides students with exposure to recurrent lexico-grammatical patterns across different academic text types (genres). From a social perspective, corpus models can be used to raise learners{\textquoteright} awareness of how speakers{\textquoteright} different discourse roles, discourse privileges and power statuses are enacted in their grammar choices. The paper describes corpus-based instructional procedures, gives samples of learners{\textquoteright} linguistic output, and provides comments on the students{\textquoteright} response to this method of instruction. Data resulting from the assessment process and student production suggest that corpus-informed instruction grounded in Bhatia{\textquoteright}s multi-perspective model can constitute a pedagogical approach in order to i) obtain positive student responses from input and authentic samples of grammar use, ii) help students identify and understand the textual, genre and social aspects of grammar in real contexts of use, and therefore iii) help develop students{\textquoteright} ability to use grammar accurately and appropriately.\

Voloshinov and Bakhtin\’s expansive view of genres as concrete, historical phenomena, theirlinkage of dialogic semiotics (discourse) to the formation of individuals and societies (development), has been taken up in North American genre theory as an invitation to explore relations between genre and sociocultural theories (e.g., of Vygotsky, Schutz, Latour, Bourdieu), to see genres not as isolated texts/events but as forged within systems and chains of discourse woven into mediated activity (e.g., Bazerman; Berkenkotter; Prior; Russell), and to challenge the privileging of public texts by identifying genres that are occluded (Swales) or designed to mediate activity (Spinuzzi). Research has focused on semiotic dimensions of genres (e.g. Kress, Lemke), and situated analyses (e.g., Berkenkotter; Kamberelis; Prior) have investigated ways that literate activity involves laminated, multimodal chains of talk, visual representations, gestures, actions, artifacts, and writing. This presentation argues for the notion of mediated multimodal genre systems both theoretically and empirically.

This article turns to genre theory{\textquoteright}s recent explorations of uptake, broadly defined as the ways genres interact, as a resource for sketching a pedagogy of shuttling between genres. Using uptake, I intend to reconceptualize multimodal compositions as a means of participating in rhetorical ecologies that consist of transactions between genres instead of thinking of remixes as an end in themselves. In this article, I first define the concept of uptake in detail and discuss its use in rhetorical genre studies. After further illustrating uptake through an analysis of transactions between YouTube parodies and the 2005 German language film Downfall, I discuss existing scholarship in multimodal composition that draws on genre but not the idea of uptake in order to lay a foundation for a pedagogy that highlights the links, feedbacks, and rules that coordinate genres. My aim in the last section is to sketch possibilities for how teachers and students can deploy the concept of uptake as a rhetorical tool to strengthen their awareness of genre and multimodality. In doing this, I hope to reposition multimodal projects as beginnings or midpoints that lead to students{\textquoteright} emersion into public discourse rather than culminations or end goals in themselves. Integrating studies of uptake into writing curricula in this way will help students to make sophisticated rhetorical decisions in the age of media convergence.

This article turns to genre theory\’s recent explorations of uptake, broadly defined as the ways genres interact, as a resource forsketching a pedagogy of shuttling between genres. Using uptake, I intend to reconceptualize multimodal compositions as a meansof participating in rhetorical ecologies that consist of transactions between genres instead of thinking of remixes as an end inthemselves. In this article, I first define the concept of uptake in detail and discuss its use in rhetorical genre studies. After furtherillustrating uptake through an analysis of transactions between YouTube parodies and the 2005 German language film Downfall, Idiscuss existing scholarship in multimodal composition that draws on genre but not the idea of uptake in order to lay a foundation fora pedagogy that highlights the links, feedbacks, and rules that coordinate genres. My aim in the last section is to sketch possibilitiesfor how teachers and students can deploy the concept of uptake as a rhetorical tool to strengthen their awareness of genre andmultimodality. In doing this, I hope to reposition multimodal projects as beginnings or midpoints that lead to students\’ emersioninto public discourse rather than culminations or end goals in themselves. Integrating studies of uptake into writing curricula in thisway will help students to make sophisticated rhetorical decisions in the age of media convergence.

The present research examined the content and validity of stereotypes about fans of 14 different music genres (e.g. country, rap, rock). In particular, we focused on stereotypes concerning fans\’ personalities (e.g. extraversion, emotional stability), personal qualities (e.g. political beliefs, athleticism), values (e.g. for peace, for wisdom), and alcohol and drug preferences (e.g. wine, hallucinogens). Previous research has shown that music is linked to a variety of psychological characteristics, that music is used to convey information about oneself to observers, and that observers can infer personality on the basis of music preferences. Guided by such research, we predicted and found that individuals have robust and clearly defined stereotypes about the fans of various music genres (Study 1), and that many of these music-genre stereotypes possess a kernel of truth (Study 2). Discussion focuses on the potential role of music-genre stereotypes in self-expression and impression formation.

This entry provides overviews on current genre theory and research that investigates texts in their social
contexts. Specifically, the entry focuses on relevant theory in Rhetorical genre studies and Linguistics and
provides illustrations from applied studies in Professional Communication and Composition research.
Since much current research in genre theory utilizes social theories that deal with questions of structure
and agency, relevant theories in that area are reviewed as well. Finally, the entry notes some of the
pedagogical implications of genre research.

In recent years, food has played an increasingly prominent role in the mainstream media in a variety of ways. As one manifestation of this trend, \“food films\” have coalesced into a bona fide genre in contemporary popular culture. In this essay, I seek to contribute to the growing conversation regarding the symbolic role and rhetorical function of mediated representations of food. In an analysis of three films of that genre\—Like Water for Chocolate, Chocolat, and\ Woman on Top\—I argue that these films are unified not only insofar as they feature food but also, and more importantly, with respect to how they use food to engage and assuage anxieties attendant to contemporary cultural ambiguities and permeabilities, especially around race/ethnicity and gender. Specifically, I contend that these films offer food as a rhetorical device through which discourses of privilege are reconciled with and restabilised against contemporary practices of desire and consumption, especially (and increasingly) for and of the \“Other.\”

This article details the impact of online databases, proquest in particular, on composition research. When distinguishing different online texts, students often encounter research and documentation difficulties, indicating a need for more instruction that addresses new literacies emerging from the current transitional age of electronic and print cultures. I present new evaluative methods for online documents that utilize knowledge of online genres, information retrieval processes, and metaphoric imagery. As students research, they are not equipped with adequate knowledge of Web genres and need a metaphorical framework with which they can understand the ways different texts operate in virtual spaces.

A \‘shreds\’ video combines existing live music concert footage, predominantly including a famous male rock guitarist or guitar based rock group, with a self-produced overdubbed soundtrack. The result is a musical parody that exists in an intersection between production and consumption and works as a within-genre evolution. The shred is controversial and its most popular instalments have been pulled from YouTube on claims of copyright infringement. This paper examines shreds as a form of multimodal intertextual critique by engaging with the videos themselves, as well as audience responses to them. As such, the applied method is genre analysis and multimodal semiotics geared towards the analysis of intertextual elements. The paper shows how prodused parody exists as a co-dependence between: (1) production and consumption; (2) homage and subversion; (3) comprehension and miscomprehension; and (4) media synchronicity and socioeconomic dis/harmony. The paper also discusses how shreds can be interpreted as tampered-with gender performances. In conclusion, it becomes clear that the produsage of shred videos is part of \‘piracy culture\’ because it so carefully balances between the mainstream and counter-culture, between the legal and the illegal, and between the commoditized artefact and networked production.

A \‘shreds\’ video combines existing live music concert footage, predominantly including a famous
male rock guitarist or guitar based rock group, with a self-produced overdubbed soundtrack. The
result is a musical parody that exists in an intersection between production and consumption and
works as a within-genre evolution. The shred is controversial and its most popular instalments
have been pulled from YouTube on claims of copyright infringement. This paper examines shreds
as a form of multimodal intertextual critique by engaging with the videos themselves, as well as
audience responses to them. As such, the applied method is genre analysis and multimodal semiotics
geared towards the analysis of intertextual elements. The paper shows how prodused parody
exists as a co-dependence between: (1) production and consumption; (2) homage and subversion;
(3) comprehension and miscomprehension; and (4) media synchronicity and socioeconomic dis/
harmony. The paper also discusses how shreds can be interpreted as tampered-with gender
performances. In conclusion, it becomes clear that the produsage of shred videos is part of \‘piracy
culture\’ because it so carefully balances between the mainstream and counter-culture, between
the legal and the illegal, and between the commoditized artefact and networked production.

The utility of metaphor as a visual\–rhetorical design framework has diminished dramatically, and continues to erode. Metaphor has two important limitations as it is commonly applied in interface design: (a) metaphors are\ indexical, pointing to physical artifacts that they represent, and (b) metaphors are\ static, that is, unwavering in their indexicality. Both assumptions are demonstrably flawed. In this article, I first critically examine metaphor\’s limitations as a visual\–rhetorical framework for designing, evaluating, and critiquing user interfaces. Next, I outline an alternate framework for visual rhetoric, that of\ genre ecologies, and discuss how it avoids some of the limitations of metaphor. Finally, I use an empirical study of computer users to illustrate the genre-ecology framework and contrast it with metaphor.

The utility of metaphor as a visual\–rhetorical design framework has diminished dramatically, and continues to erode. Metaphor has two important limitations as it is commonly applied in interface design: (a) metaphors are\ indexical, pointing to physical artifacts that they represent, and (b) metaphors are\ static, that is, unwavering in their indexicality. Both assumptions are demonstrably flawed. In this article, I first critically examine metaphor\’s limitations as a visual\–rhetorical framework for designing, evaluating, and critiquing user interfaces. Next, I outline an alternate framework for visual rhetoric, that of\ genre ecologies, and discuss how it avoids some of the limitations of metaphor. Finally, I use an empirical study of computer users to illustrate the genre-ecology framework and contrast it with metaphor.

This article identifies common features of a neglected formula, the team film, in which the films invariably overtake the sourcetexts as the dominant form. Surveying adaptations, such as\ The Great Escape,\ The Italian Job, The Professionals\ and\ The First Great Train Robbery, the article demonstrates how in the team film, particular textual elements are consistently used, re-used and modified in a fashion akin to\ genre

Reception histories are retrospectives; they look back at publications and ask
who has cited them, how often, when, where and why. This paper takes an
influential 1996 paper on genre analysis and examines how it has played out
intertextually over the 15 years or so since its publication. The main sources used
have been Google Scholar and the Web of Science. The quantitative results show
that it has been primarily, but not exclusively, cited in ESP publications. The
more qualitative aspect of this investigation reveals that its value for most later
commentators lies in its review-article potential to act as an interpretive frame
for subsequent work. The paper ends with a discussion of whether today we
should accept just {\textquotedblleft}three traditions{\textquotedblright} for genre analysis and its pedagogical
applications or look further afield.

The paper discusses genre theory in the field of e-Democracy. A framework for analysing communicative genres related to four stereotypical e-Democracy models is suggested. A case study of a web based discussion board in a municipality illustrates the implications of applying the genre lens to the e-Democracy research and practice, with lessons learned to considered in the future efforts on e-Democracy. Based on observations from the case, a theoretical concept of autopoietic cybergenre is suggested and its potential significance for future e-Democracy initiatives is addressed. An autopoietic cybergenre, such as a web-based discussion board, includes inherent capability for meta-communication enabling continuous structuring of the purpose(s) and parts of the form of the genre in question itself.

Recent scholarship in genre studies has extended its focus from studying single genres to multiple genres, as well as how these genres interact with one another. This essay seeks to contribute to this growing scholarship by adding a new concept, intermediary genre. That is, a genre that facilitates the \“uptake\” of a genre by another genre. This concept is designed to reveal a particular aspect of multiple genres: that one genre can be used to connect and mobilize two otherwise unconnected genres to make uptake possible. The concept is illustrated in case study of knowledge mobilization, an instance in which scientific research was used in the judicial system to inform public policies on eyewitness handling and police-lineup procedures. The case study shows how intermediary genres emerge, how they connect other genres, and how knowledge circulates as a result of such connections and affects policy decisions.

Recent scholarship in genre studies has extended its focus from studying single genres to multiple genres, as well as how these genres interact with one another. This essay seeks to contribute to this growing scholarship by adding a new concept, intermediary genre. That is, a genre that facilitates the \“uptake\” of a genre by another genre. This concept is designed to reveal a particular aspect of multiple genres: that one genre can be used to connect and mobilize two otherwise unconnected genres to make uptake possible. The concept is illustrated in case study of knowledge mobilization, an instance in which scientific research was used in the judicial system to inform public policies on eyewitness handling and police-lineup procedures. The case study shows how intermediary genres emerge, how they connect other genres, and how knowledge circulates as a result of such connections and affects policy decisions.

With genre now viewed as a fundamental element of writing, both second language writing and mainstream composition studies have seen an increased focus on the question of how writers learn genres. The purpose of this paper is to review key findings from 60 empirical studies that have investigated this question. To this point, research has typically studied genre learning as it occurs either through professional or disciplinary practice or through classroom instruction; almost no studies have looked at the same writers as they traverse these multiple domains. I therefore categorize studies as taking place in either {\textquoteleft}{\textquoteleft}practice-based{\textquoteright}{\textquoteright} or {\textquoteleft}{\textquoteleft}instructional{\textquoteright}{\textquoteright} settings and identify trends in the research findings from each setting. After examining one study which takes place in multiple settings, I tease out some of the commonalities and distinctions between learning in practice-based and instructional contexts and between first language and second language genre learning. On the basis of this comparative review of research, I suggest future directions for the interdisciplinary study of genre learning.

"This book attempts to engage directly with the complexities and tensions in genre from both theoretical and pedagogical perspectives. While struggling with questions of why, when, and how different writers can manipulate conventions, Tardy became interested in related research into voice and identity in academic writing and then began to consider the ways that genre can be a valuable tool that allows writing students and teachers to explore expected conventions and transformative innovations. For Tardy, genres aren{\textquoteright}t {\textquotedblleft}fixed,{\textquotedblright} and she argues also that neither genre constraints nor innovations are objective{\textemdash}that they can be accepted or rejected depending on the context." - See more at: http://www.press.umich.edu/5173647/beyond_convention$\#$sthash.dEFIj3AT.dpuf

Performance as a genre allows for alternative mappings, providing a set of strategies and conventions that allow scholars to see practices that scripted genres might occlude. Like other genres, performance encompasses a broad range of rehearsed and codified behaviors, such as dance, theater, music recitals, sports events, and rituals. A performance lens allows scholars to look at acts, things, and ideas as performance. Looking at America as performance might explain why it is difficult to approach it as a disciplinary field of study. What might the shift in genres-from the scripted genres associated with the archive to the live, embodied behaviors that are the repertoire of cultural practices-enable? This essay proposes that an analysis of the performance of America might allow scholars to rethink not only their object of analysis but also their scholarly interactions.

This article offers a way of using the theory of audience design\—how speakers position different audience groups as main addressees, overhearers, or bystanders\—for written discourse. It focuses on main addressees, that is, those audience members who are expected to participate in and respond to a speaker\’s utterances. The text samples are articles, letters, and editorials on women\’s suffrage that were published between 1909 and 1912 in Canadian periodicals. In particular, the author analyzes noun phrases with which suffrageskeptical women are addressed, relying on the theory of constitutive rhetoric to highlight the interpellative force with which the audience design of this public political debate operates.

From 1909 onward, the Canadian suffrage debate was heavily influenced by reports on suffrage militancy from Great Britain and the United States. Militancy played an influential role in Canadian suffrage history not through its practice\–there was no Canadian militant campaign\–but through an ongoing discussion of its meaning. Using Anne Freadman\&$\#$39;s notions of genre and uptake, this paper analyzes the discursive uptake of suffrage militancy\—from news reports on front pages, to commentary on women\&$\#$39;s pages, to reviews of Emmeline Pankhurst\&$\#$39;s Canadian speaking engagements. The Canadian debate about militancy is a fertile site for drawing out the roles of genre and uptake in the political positioning of both suffragists and suffrage sceptics. Talk about militancy serves as a way to regulate the uptake of this particular genre of political action, whereby both sides tended to share the optimistic view that Canadian suffragists where not yet in need of militancy.

There is a movement coming out of Latin America identified rather broadly as nueva cancion, or \"new song,\" which combines the musics of different Latin American folk cultural traditions with new renditions of old favorites from urban and mass media venues. Through the mass media these songs of Chile, Brazil, Cuba, and the Hispanic U.S. community-to name the most prominent sources of nueva cancion-reach beyond the borders of the Latin American countries of South and Central America and cultivate audiences throughout the world, among Latino and non-Latino cultural groups alike (see Vigliette 1986). Despite the mass media performance context of nueva cancion, this music embodies more than commercial value for these musicians and critical Latin American scholars. For many of its practitioners nueva cancion symbolizes a search for political, economic, and cultural identity in order to counteract widespread cultural stereotyping, economic domination by transnational corporations, and political manipulation by North American policy.

One of the most rapidly developing and ubiquitous areas on offer in many school curriculums is the study of our physical and digital world; we may refer to this broad area as the study of anthropological technologies. A significant dimension of this field is the study of food technology, which is under pressure to be a source for solutions to world food production. This chapter presents research on how well the school system aligns with the post school demand for the range of skills and knowledge required to meet the complex challenges facing food innovations and production. The findings suggest that far greater clarity and classification methods are needed to help school systems align with post school understandings of what Food Technology knowledge entails. The findings also support a framework known as Technacy Genre Theory as a way to assist identifying the relative similarity between forms of technological knowledge and practice.

The framework of genre systems offers an opportunity to illuminate the ways in which students enculturate into their disciplinary cultures. To explore the ways in which genre chains are constructed through engagement in specific tasks, this study investigates two international students\’ development of genre systems in law and MBA programs through the examination of program syllabi and individual student engagement. The findings demonstrate key differences between the programs in expectations and genre sets, as well as illuminating the ways that individuals construct genre systems to mitigate the language challenges that they face. The findings add a thick description to the specific vs. general EAP discussion.

This work is based on a review of three of the main criteria used to classify Hispanic preaching in genres (types of sermons). These criteria have also been used to classify panegyric as a genre of sacred oratory. Establishing differences between classical rhetoric and sacred oratory, this paper will try to define the place of the panegyric in preaching, thus determining in which ways it is possible to speak about genres of the sermon. Key words: sacred oratory, panegyric, discourse, New Spain, 16th and 17th centuries.

This study examined the way in which television genres in the
Netherlands make use of additional communication channels in
terms of interactivity and genre modification and whether the
availability of additional communication channels in genres
corresponds to audience age. Expert interviews were held with
representatives of Dutch broadcasting organizations and a
secondary analysis of Audience Research data was conducted. It
was found that compared to other genres, short message service
(SMS) is added most frequently to reality programmes, email and
websites to the information genre, teletext to sports programmes
and merchandizing to children\’s programmes. In addition, it was
found that only SMS is added more often to programmes
attracting a younger audience.The extent to which the additional
communication channels represented real innovation varied from
maintenance to the elaboration and modification of genres.

This article examines the common computer-mediated communication (CMC) phenomenon of \‘flaming\’ from a rhetorical perspective, situating the phenomenon diachronically in the histories of invective in art and society. An examination of the notorious alt.flame newsgroup draws connections between the political and sexual content of the flames and the rants and dozens genres of invective. The article concludes with an argument against the still prevalent media-determinant view that holds that flaming is somehow caused by the medium of CMC itself. Given the strategic nature of the different kinds of flames, it makes more sense to view them as performative enactments of identity which stress either group or individual identity depending on the genre
of invective utilized by the flamer. This article demonstrates that the more historical approach offered by rhetorical criticism gives a vital perspective to an area of study from which rhetorical critics have for too long been absent.

Contemporary genre theory is dominated by metaphors of evolution and speciation; this article proposes alternate metaphors of spatiality and exchange. A spatial understanding of genre permits more productive interactions between literary and rhetorical genre theory. A reading of Robert Burton{\textquoteright}s The Anatomy of Melancholy as a multigenred text suggests some of the potentials of this approach.

Montage theory enthrones editing as the essential creative act at the expense of other aspects of film; Bazin\&$\#$39;s Realist theory, seeking to right the balance, merely substitutes its own imbalance, downgrading montage and artifice; the revolutionary theory centered in Britain on Screen (but today very widespread) rejects-or at any rate seeks to \"deconstruct\"-Realist art in favor of the so-called \"open text.\"\ Auteur\ theory, in its heyday, concentrated attention exclusively on the fingerprints, thematic or stylistic, of the individual artist; recent attempts to discuss the complete \"filmic text\" have tended to throw out ideas of personal authorship altogether.

This article employs multimodal discourse analysis to explore how mothers represent their everyday experiences of motherhood on Instagram through different forms of self-portraiture. It investigates whether the {\textquoteleft}selfies{\textquoteright} that they share can be characterized as a visual genre and identifies four subgenres: presented, mirrored, inferred and implied selfies. The article illustrates the different ways in which the photographer{\textquoteright}s perspective can be represented in each subgenre. The aim is to show that the function of the selfie as a multimodal genre is not solely to represent {\textquoteleft}the self{\textquoteright} but rather to enact intersubjectivity, that is, to generate various possibilities of relations between perspectives on a particular topic, issue, or experience and hence to open up potential for negotiating different points of view.

Genre analysis has been applied to a sizable body of linguistic studies on various text types. However, little attention has been paid to advertorials as an emerging hybridized genre. To identify the generic and linguistic characteristics of advertorials, and therefore to classify advertorials into an appropriate genre, this study carries out a comprehensive genre analysis of advertorials based on Bhatia\’s (1993) seven-step genre analysis methodology. A corpus of 55 advertorials was collected from four English-language magazines and two English-language newspapers, from which a sub-corpus of 12 samples was further selected for a thorough examination of linguistic characteristics. Attempting to gain a comprehensive view of generic features of advertorials, this study makes a critical comparison of advertorials with three inextricably related genres: advertisements, news stories and editorials. Linguistic evidence sufficiently demonstrates that advertorials share fundamental generic and linguistic natures with advertisements and proposes classifying advertorials as a sub-genre of advertisements.

This article investigates whether expectations about discourse genre influence the process and products of text comprehension. Ss read texts either with a literary story or with a news story as the purported genre. Subsequently, they verified statements pertaining to the texts. Two experiments demonstrated that Ss reading under a literary perspective had longer reading times, better memory for surface information, and a poorer memory for situational information than those reading under a news perspective. Regression analyses of reading times produced findings that were consistent with the memory data. The results support the notion that readers differentially allocate their processing resources according to their expectations about the genre of a text.

This article has a double scope. First, we consider the dynamics
inherent in the emergence of genres. Our view is that genres emerge relative
to two sets of constraints, which we aim to capture in our double feedback loop
model for the dynamics of genres. On the one hand, (text) genres, or text types,
as we will interchangeably call them, emerge as a variation of already existing
text types. On the other hand, genres develop as a response to the negative
constraints or positive affordances of given situations: that is, either the {\textquotedblleft}exigencies{\textquotedblright}
of the situation or the new resources available in a situation.
Accordingly, Section 1 is mainly devoted to a characterization of situations
and of the dynamic relation between situational constraints/affordances and
genres. Our main claim is that situations and genres stand in a relation of
mutual scaffolding to each other so that the existence of a text type is not
simply caused by the exigencies present in a given situation, but, once emerged,
also feeds back into the situation, further stabilizing or consolidating it: hence,
the use of the term {\textquotedblleft}feedback loop.{\textquotedblright} Section 2 is a more detailed discussion of
the dynamics of genres with a particular focus on the first feedback loop: the
way genres develop as deviations from existing text types and then stabilize as
text types proper with a normative import. The second scope of this article
consists in developing a typological apparatus consistent with the dynamic
approach to the emergence of genres. This is our parameter theory of genres
presented in Section 3. Here we consider genres as governed by parameters
external to them and intrinsic to the situations they are dynamically related to.
Genres should thus be understood not simply in terms of inherent textual or
formal traits, but also relative to a certain set of situational parameters and
relative to the degree to which they are governed by them.